chris_b

These are great lines. I believe Rutger Gunnarsson started as a classically trained guitarist. Great bass playing is easier to achieve when underpinned by impeccable musical knowledge and technique.

I am not an engineer, but logically, the properties of the cab have to be constant no matter what finish is put on it. If you really want to know email Barefaced.

I've had batteries run down in my Wal and a Lakland. They both sounded different, but started quietly so I had plenty of time to sort them out. One produced a swishing noise and the other started to distort. The batteries in the Lakland lasted more than a year. That was over 100 gigs. So I now change the batteries on the 1st January. I save the old one and put it into my tuner. I might be extending the battery life by running the volume at about 3/4. So the bass volume is down a little with the amp volume doing the heavy lifting.

I don't see how it could do that. The bracing is inside the cab, connected to and supporting all 6 surfaces and the strength of the front of the cab is in the baffle. The grill is only held on by screws. I really doubt there's any bracing there.

All my Barefaced cabs are cloth fronted. They are lighter and I think they look better. I carry and look after my gear so the strength of cloth versus steel doesn't come into it. There are probably more steel grill cabs for sale because they are less expensive so there will be more around.

Don't get too enthused about the guy in the isolated bass video. I'd use this to get the notes together and then work them into a performance playing along to original.

Maybe, but as the thread is about switchable impedance and that's what the BF can do I think it's relevant to give it a mention.

The Barefaced Two10's switch between 4 ohms and 12 ohms.

Andertons have a wall of Sire basses. I'd check them out, but out of the basses you mention my choice would be the one that felt best and sounded best. . . . to you. From a distance I'd be expecting the Marcus Miller Jazz to be the sound I prefer. I'm generally a fan of Fender Jazz style basses.

It's a pat on the back to be asked to join a band. If they think you're good enough, you are. You just need time to settle in, but dumping 50 songs on you is a pretty thoughtless and unhelpful thing to do. Get the repertoire broken down into smaller chunks. Don't get stressed, just remember. . . they want to play with you. Good luck.

I'm not sure I know the difference between strings and their tensions. Maybe it's my technique, I skate along over the top of strings and never "dig in" but I can only see a string being "floppy" if you are really pulling it. If that's what is causing the problem. . . don't do it.

I have used DR Lo-Riders and Hi-Beams and now D'Addario NYXL. I'm happy with the clarity and definition I get from these strings, but IMO any muddiness is probably down to the bass. My Sadowsky produces very clear notes on all strings. From the reviews I've read Dingwall's might be the best for clarity.

I think Motown valued Jamerson very highly. He was the highest paid session player in the USA during Motown's heyday. . . and they put up with all his "games", which none of the studios and producers in LA did.

Very true, but I have played some very good gigs were the singer has been depped. You work out what the dep knows and what you know and the gig takes shape from there. I would imagine it would be almost impossible to make this work with an original band or with a bunch of players with little experience or no depth of repertoire.

Reading some of these posts, you can make problems for yourselves if you insist on playing the original lines note for note on every occasion. If you really have to play a line and you can't, then the only answer is to practice it until you can! If I'm learning a song, I check the original version, then I have a look for the original band playing live. Many times they aren't even playing the original lines themselves. I work out what needs to be kept and what I can add. I make sure I capture the gist, the feel and flavour of the original but I'm the player. It's perfectly acceptable to make these songs your own.

It looks like we are at opposite ends of the spectrum then. I can't understand sitting at home, twiddling your thumbs, when you could be gigging, just because one of the band might go on holiday! I also don't understand this all or nothing approach when it comes to band members. If these guys are the only ones you can comfortably play with then your band needs to work on improving their confidence, flexibility and musical ability.

Excellent news.

The first thing that sprang to mind when I read the title was Police and Dire Straights songs. Tina Turner, Steely Dan and D'Angelo can also be "roasts".

As a dep you get one chance. Unfortunately, a couple of years ago, I was Ill on the day of a dep gig I was doing. I called, canceled and apologized (I still feel terrible that I let them down) but I knew they would never call again. They haven't.

You've got an immediate problem. As has already been suggested, a 2 channel outboard preamp would solve that. Then, if you feel you still need to, save to upgrade to better basses, one at a time.

All basses mentioned are top instruments. I'd add the name Overwater to the list. These are some seriously good basses.

I saw Knower at the Jazz Cafe last year. What a great gig and Sam Wilkes is a bass player everyone should check out. Love this track and video. . .

I've heard a couple of these on gigs and they sounded very good. I know it's unlikely, but if I could find a 5 string at under 9lbs I'd have it.

I use a Mike Lull PJ5 and it's one of the best basses I've owned. Why do you need a 5 string bass? If you need one for the music you're playing, bite the bullet and buy one. If you have a bass that you "love" then making it BEAD might easily change it into a bass you don't love anymore.